U-Wei's Film Journal

Filmmaker Zuhir Bin Haji Saari or also known as U-Wei playing the role as an author producing film such as “Perempuan, Isteri dan…” (1993), “Kaki Bakar” (1995) and “Jogho” (1997). Besides being a director, he also considered as viewer and the scriptwriter. U-Wei is a director who well aware of his filming style and the mise-en-scene. Therefore, he plays the role of an author and this is known as “technique of self”.

The first film “Perempuan, Isteri dan...” (1993) portrayed a Malay society in a village. Zaleha escaped from her village during her wedding day with Amir. Amir kept a huge grudge and track Zaleha to redeem the shame. Zaleha was raped and sold to Som Chai where she was forced to become prostitute. After six months, Amir brought Zaleha back to his village. On the way back to village, Zaleha successful trapped Amir and they got married. While in the village, Zaleha created controversy and Amir killed her and her lover.

The second film “Kaki Bakar” (1995) having a story talking about Kakang, a settled foreigner from Jawa, Indonesia putting all the effort in cultivate the Javanese tradition to his son, Kusuma. Kakang was doing so after observed the existence of exploitation of different social status. Kakang’s big reaction had brought a big influence to his son, Kusuma.

The third film “Jogho” (1997) is a story about Mamat who is the champion of bullfight, angrily brought his family from Kelantan and stayed with Lazim at Petani in 70’s century. In one of the bullfight, Lazim was dead shot by Pak Isa who later on run somewhere else. Mamat determined to find Isa to solve the problem. This film also reveals the question on the spirit of Mamat and women in the context of life where Mamat practiced at the place.

The director U-Wei used the same style in producing the three films. He preferred to use camera pan left-right, slow dolly tracking shots and revealing the mise-en-scene. In “Perempuan, Isteri dan…” film, most of the shots are static and pan left-right. Besides that, there are also a lot of “dissolve to black” transitions. The film “Kaki Bakar” used more shots on pan left-right while the film “Jogho” used pan left-right and added with crane up shots. For example, the police station staircase shot was pan and crane up.

For the background music, U-Wei used haunting soundtrack (diegetic) where the diegetic sound means the sound that the audience can hear but the actors and actress unable to hear such as the dialogue. The “Jogho” film used a lot of haunting soundtrack for example the scene where Aral, the bull attack Mamat. The film also ended with professional music. For the film “Kaki Bakar”, loud music is used in most of the scenes. All the films also included more ambience sound.

The three films portrayed and presenting the hypermasculine Malay male identity in the rural area. It can be shown in some of the dialogue in the films itself. For example, “saya jantan, kamu jantan…” and “sayakan jogho” in “Jogho” film. This established how the Malay male in traditional time is handling with the people and the environment around him. In “Kaki Bakar” film, father portrayed he know the best in the family. Kakang educated Kusuma about the real identity of Malay people. Meanwhile, Kakang also determined Kusuma’s only education in religion. For example, Kakang told his wife “saya dah ajar adat” means he taught religion to Kusuma which is more important than others.

These three films also portrayed family ties and unconditional love. “Kaki Bakar” and “Jogho” films are more emphasize on big family love. For “Kaki Bakar” film, Kakang loved his family and he educated Kusuma on the existence of exploitation of different social status. He said “we are family and should be connected”. In “Jogho” film, when Lazim got shot by Pak Isa, Mamat wanted to revenge for him. Mamat eventually gave money to Lazim’s family as he always takes Lazim as a family. “Perempuan, Isteri dan…” film more to a husband-wife family love. Even though Amir hated his wife, Zaleha but he still buying her food and give her money to buy things. The real love slowly appeared after a period of time and Amir started to treat Zaleha nice.

Moreover, the role and voice of the male and female are one of the elements in these three films. In “Perempuan, Isteri dan…’ film, Amir always shouted at Zaleha and instructed her to do things. He even sold Zaleha to Som Chai and became prostitute who later on changed her attitude and living lifestyle. In “Kaki Bakar” film, Kakang shouted “He’s not a girl coddle with” at his wife when she attempted to clean Kasuma’s face. His wife said “he knows best” in one of the dialogue showing his father is the dominate person in the family as a male role. In “Jogho” film, we can see female role speak up as Minah was angry and said to Mamat that they did not have extra money to buy food feed Aral as their whole family are facing insufficient food also. Hereby, it shows that female is not weak in fact the male and female should work together.

Besides, Director U-Wei would like to express the ethnic struggle and social inequalities in the films. In “Kaki Bakar” film, it can be shown when Kakang and Kusuma find Tuan Kassim at his house, Tuan Kassim’s wife try to expel them. Another scene is Tok Empat blamed the carpet issue to lower class people like Kakang rather than Tuan Kassim. Besides, Kakang also fight for rights. He did not want to pay for the carpet issue because his family did not cause the faulty. There is no much ethnic struggle in “Jogho” film but there is a social inequality. For example, the Thailand police did not investigated Lazim’s murder case but they arrested Mamat when Isa’s son got killed. This is because Isa’s family had higher status than Lazim’s family. When Lazim got killed, Mamat want to fight for justice where he took his weapon and search for Isa to revenge for Lazim’s death.  

"Abang" Film Journal

“Abang (1981)” was directed by Dato Haji Rahim Razali and he also known as the writer of the film. In this film, Abang Fuad, the eldest in the family was sudden departed to London a decade ago. His family was worried about him until one day, Abang Fuad leaved a message that he is coming back to Kuala Lumpur. When Abang Fuad returned to his origin place, he tried all his effort making life as normal as he can meanwhile kept his big secret from the whole family members. At first, Abang Fuad had conflict with his younger brothers, Abang Faizal and Abang Farid. Abang Fuad had some personal relationship problem previously with Mona who was Abang Faizal’s wife. Abang Farid and his wife, Naz was so close together and Naz was a fashion woman as she was involved in fashion line. Abang Fuad kept a big secret for more than ten years. Unfortunately, his family only gets to know that he was having leukemia on the last day itself. It was related to the past incident where he saved his sister, Dila in a laboratory during a fire. Thinking back, Abang Faizal and Abang Farid was so sad and regret for what they viewed on Abang Fuad previously for been not being filial to the family. In fact, their elder brother was the greatest and scarified for his family.

There are four forms of hybridity such as cultural, gender, language and racial hybrid. In this film, the main three forms of hybridity will be applied which are cultural, language and racial hybrid. Cultural hybrid in this film inserts western culture to attract the audience. For example, a Malay woman can be modern but at the same time, she is still modern. In the search of Malay identity, ones can be remain modern. In this film, the term “east meets west” means Abang Fuad’s family practiced more western culture where we can see from their dressings and conversation. There are few highlighted scenes showing the cultural hybrid. We can see there is open relationship in the film. Abang Fuad asked forgiveness from Mona for the past mistakes. At the same time, Mona was married to Abang Faizal and she had been caught meeting with Abang Fuad in the house. Besides that, scene where the family organized a party for the return of Abang Fuad also shows the cultural hybrid applied. In the party, Abang Farid was drinking heavily even though he is Malay. Moreover, Naz also shows she is a modern woman because she involved in fashion line. The film also portrays Dila as a modern Malay woman as she was having car racing, performed in the club and the way she dressed. Mother also practiced western culture where she asked Abang Faizal and Mona not to wait Abang Fuad in earlier party. This is because there is a belief in Malay culture where younger should wait for elder. For Abang Fuad, he portrayed as modern, educated, successful Malay without losing the original Malay culture identity. The scene was highlighted where Abang Farid was scolded by Abang Fuad for not practicing the Malay culture and been rude to Abang Fuad. The return of Abang Fuad tried to retify the “adat” in the family. The film began with western music and ended with Malay music.

The second hybridity, language hybrid applied in the film showing that Malay language is still the main language meanwhile English language was occasionally been used in the conversation. This is clearly shows that the family is educated modern. There are few scenes were highlighted for the mentioned hybrid. In the beginning of the film, Abang Faizal said “ghost from the past” during a conversation with his wife, Mona. Another scene showing English language was used in the film when Abang Fuad asked Dila “do you miss me” and at the same time, Dila answered “silly question”. Even though the entire film is produced in Malay language but the western culture in terms of language was applied especially in some conversation.

Last but not least, the racial hybrid also portray in the film. Business community is one of the biggest communities in the film where we can see many different jobs portrayed. Throughout this film, it shows an open-minded Malaysian and the national identity for the nation is clearly portrayed in some scenes. In the beginning of the film, the elevator scene where there is Chinese people showing that the film does not only emphasize on Malay community. Meanwhile, there are a multiracial and multi culture people including the foreign western people attending the party. On the other hand, the father’s secretary is a Chinese and they do communicate well with each other. In the middle of the film, there is a scene where “Perarakan” show was performed by a group of Malays. There is a Chinese word shown in the scene. Mona also practiced Chinese culture where she fanning herself with a Chinese fan in the party. Malaysia is an urban modern city but yet it still practice multi ethnic cultural. Mona always portrayed as traditional Malay woman but she was westernized before when she had Abang Fuad’s child. In conclusion, a person should not let go the origin cultural identity even though we want to be success, educated and modern.

"Selubung" Film Journal

Datuk Paduka Suhaimi Baba is a local film director from Negeri Sembilan produced her very first film, “Selubung” in 1992. She has come out with the idea in producing a 70’s film, “Selubung” which took place in Terengganu in 1969.

In this film, Mastura, student of Universiti Western Australia, Perth is persuing her study with her another good friend, E.J. However, E.J was then met Brother Musa who was a religious fundamentalist person. She believed Brother Musa’s religious words and willing to marry him. Mastura and her other friends tried to stop her but she insisted to stop her study which was left not even a year to graduate. Brother Musa is now having two wives, E.J and Hani. After Mastura graduate, she went back to Malaysia working as an engineer in TCT Safira Holding and volunteer joined welfare organization RESCAID. The RESCAID was planning to bring a group of Palastine children to Malaysia. She joined the project. She got to know Dr. Sadar and Vincent who was in charge of the project. She later met Kamal who was the managing director in TCT Safira Holding. Kamal then fall in love with Mastura. Mastura had a close friend, Lin. They always stay together and get along well together with Lin’s brother, Pintu. One day, E.J wants to meet Mastura when she was seriously sick. Kamal and Lin advised Mastura to visit E.J but Mastura unwilling to do so. Flashback showing Hani was mentally insane and she killed E.J’s baby. After long persuading, Mastura finally willing to meet E.J. Meanwhile, another sad incident occurred when Mastura found out that Kamal already married and having divorce now. However, Kamal and Mastura get back together after Kamal divorced with his wife. Mastura successfully convinced E.J and Kamal to join RESCAID welfare activity. However, the welfare activity was violently opposed by other parties. RESCAID at London was bombed but London government would like the activity to be continue. One day, RESCAID received a blackmail letter however it was ignored by Doctor Sadar and Mastura. The terrorist brought the bomb into the building and it exploded in the elevator which caused Mastura to be unconscious. The welfare concert started and the 16 sponsored children reached Malaysia. Finally, Mastura was conscious after a religious incantation.

The film shows a big difference in terms of gender and identity, custom, culture, tradition and religion. Masculinity and femininity play a very important subject in this film. According to Wikipedia, masculinity is possessing qualities or characteristics similar to a man. This term can be used to describe any human being, animal or object that has the characteristics (Collins Dictionary). Meanwhile, femininity also known as womanliness is a set of attributes, behaviors and roles generally associated with girls and women according to Wikipedia. “Selubung” film has portrayed many roles into different masculinity and femininity. The lead actress, Mastura has been portrayed as a “modern” woman in the film as from the beginning till the end, the way she portrayed through her actions, behaviors and attire. Mastura is a modern Malay girl. She often wears a normal T-shirt, jeans and holding her handbag no matter where she goes. Hereby, we can see that Mastura can be modernized but her soul must be always stayed with Islam. This can be show after Mastura graduate, she went back to Malaysia to work as a young engineer and join RESCAID to help people who in need. On the other hand, E.J is more the religious and tradition. At first, she wore T-shirt and jeans similar with Mastura, but after she met Brother Musa and got married, she trusted a lot in religious belief and eventually changed herself. She wore “baju kurung” covering her face and stopped her study half way. Masculinity is shown in few roles in the film. Kamal is portrayed as modernized man as his behavior was open enough and the way he wear. He is a responsible and romantic man. He spoke a lot of sweet words such as “rindukan” to Mastura showing he is sincere in love. Besides that, he often wore smartly with coat on and bag on hand. The second portrayal, Brother Musa is a man who retains tradition and religion all the time. It is clearly shown through his attitude and attire. He is very strict with his wives includes Hani and E.J where he did not allowed them to talk much with friends. He always wear the same traditional “baju melayu” and have a high believed in religion.

What I like the most in this film is it brings out the theme “love” to the public. RESCAID is one of the welfare organizations that carried out a lot of volunteer activities to help people who need it. Through the program, Mastura, Doctor Sadar, Vincent, Kamal, Pintu and E.J are helping in donation for food and shelter as wella s bringing the 16 children from Palestine to Malaysia. At the same time, Pintu are also helping in collecting donation by singing to the audience. I believed that audience that watched this film will be more generous to donate to the people who need it. I most like the part where Pintu is singing on the stage to get more people to donate. He said “Tapi kalau sudi nak derma, dua puluh sen pun ok alright”. This conversation was so meaningful where it tells the public that donation does not mean must be thousands or hundreds. It highlighted that as well you got heart and sincere, even just a few sen, it still means a lot to the people who need it. Heart is the most important element in donating. Imagine your little kind donation can help people who suffered from insufficient food, you are saving people.

Besides that, the location for all the scenes is appropriate with the storyline. The props used were high tech enough at that time. For example, the explosion scene was so real with the fire and bricks collapsed in the building. It makes the film look more reality and the characters can act better. The actor’s were playing good roles in the scenes. Most of their behaviors suited the characters portrayed in the film. The sound effects are well applied based on the scenes and the Malay songs used suits the whole genre. Simple make-up and costume makes the characters look natural and compatible with 70’s style.

What I dislike in the film is Kamal and Mastura are over reacted towards their love relationship. In the film, Kamal was the managing director in the same company as Mastura working. They fall in love in each other and they got along well in a short period of time. I dislike the part where Kamal and Mastura always say twisted sweet words such as “Sebab aku rindukan engkau” and “Kalau Mas kata Mas rindukan Kamal” which I think it is so distracting.

Other than that, I dislike the editing “jump cut” that often appeared in the film. For example, scene showing Kamal was discussing important things with Doctor Sadar in the office and suddenly it “jump cut” to another scene where Kamal together with Mastura in a restaurant. It will make the audience confused and they need to figure out what is happening in the particular scenes. Besides that, the lighting for the entire film is more to low lighting. Most of the scenes were dark and it portrayed the film as horror more than romantic. 


References:

Baba, S. (n.d.). Selubung. Retrieved November 14, 2011, from http://www.imdb.com/title/tt0105350/ 

Selubung. (n.d.). Retrieved November 13, 2011, from http://www.sinemamalaysia.com.my/film/info/?id=Selubung_173